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troublemag | May 28, 2017

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Listing State SA

Anne & Gordon Samstag Museum of Art

55 North Terrace Adelaide 5000

The Ocean After Nature – Until 9 June 2017
Countercurrents – Until 14 April 2017

“…The Ocean After Nature is like a diver, breaking the surface to plumb the depths of our perceptions.” Wendy Vogel, Frieze magazine, 2016

The Samstag Museum of Art is delighted to present two special exhibitions for the 2017 Adelaide Festival of Arts. The Ocean After Nature and Countercurrents feature the work of twenty-three Australian and international artists and collaborations, exploring our relationship with and connections to the oceans through new media, sculpture, installation, painting and photography.

Presented in partnership with Independent Curators International, New York, The Ocean After Nature reflects on the complicated planetary effects that humanity and the oceans have on each other today. In response to that project, the Samstag Museum of Art has invited a number of artists – each with a connection to Australia, New Zealand and/or the Pacific Islands – to probe the unique implications of this complex relationship for our region in the compelling Countercurrents exhibition.

The Ocean After Nature features work by Allan Sekula & Noël Burch, as well as Rosa Barba, Ursula Biemann, CAMP, Yonatan Cohen & Rafi Segal, Mati Diop, Maria Domenica Rapicavoli, Drexciya, Peter Fend, Reneé Green, Peter Hutton, Hyung S. Kim, Manny Montelibano, Deimantas Narkevicius, The Otolith Group, Ulrike Ottinger, Supersudaca and United Brothers.

Countercurrents features the work of Daniel Boyd, Baden Pailthorpe, Alex Seton, Fiona Tan, Angela Tiatia, James Tylor, and Ken & Julia Yonetani.


12 Compton Street, Adelaide 5000

Until 20 May 2017

Cast no shadow presents a new body of work from Mia van den Bos that emerges from one material premise: the screenshot. Some days we ski elegantly across the surface of our endlessly updating feeds, other days it feels like we’re drowning. A screenshot is an act of halting, grasping, recording and savouring. A floodgate snapping shut on a forceful, unrelenting rush of water.

The exhibition expands on Van den Bos’ recent research in which she learned computer programming skills to equip herself to creatively critique patterns of surveillance, ownership and exploitation within corporate social media. Cast no shadow extends the artist’s thesis to consider community and self-surveillance as a behavioural simulation of the social relations coerced within omnipresent Silicon Valley devices and platforms. The screenshot is a versatile medium which facilitates communal hate-lurking and the storing of social ‘receipts’, the dispersal of memes, products and unconsenting nudes and the sharing of private conversations. They sustain a late capitalist Neighbourhood Watch for the protection of social status.

Along with these considerations the works in Cast no shadow maintain a fascination with the screenshot as a medium, the product of an often inexplicable punctum that compels us to simultaneously hold down the front and side button of our iPhones. Yet these artefacts soon become the forgotten digital detritus that clog up our phone and computer hard drives. Who frames a screenshot?

Until 20 May 2017

Rose Tinted is part of an ongoing project attempting to highlight binary constructs of the screen in the context of the queer male. A slow paced pan across a pink landscape reinterprets sexuality and masculinity on the screen by exploring the possibility for in-between. Rose Tinted engages with and shifts the binaries of masculinity and queerness by presenting a fragmented experience of the landscape and identity. The single channel video shows the landscape in-between the binary structures of masculinity and homosexuality, relying on stereotypical readings of both homosexuality and the Australian landscape. Reflecting a personal dislocation from the normative structures of queer sexuality sensitively operating between boundaries of typical masculinity and sexuality.

Until 20 May 2017
Viewable: Wed – Sat: 7pm – 12am

The hour of stillness — present made infinite.
Colour outside sight. Time beyond reality.
To reveal the space, cradled in the illusion.

Featuring durational performance within isolated urban environments in the Adelaide sphere, The Violet Hour catalyses as a site-specific video installation investigating the (un)natural and supranatural forces of the local area. Where the surrounding and pervading invisible is made visible through embodiment. FELTspace features and becomes a liminal point of entry — an epicentre where these energies and metaphysical aspects intersect as well as manifest through spatial engagement.

Multidisciplinary visual artist, Elise Bonato (SA), is a practitioner of the visual-aural arcane. Her experimental practice investigates contemporary notions of the sublime and mysticism through a synthesis of moving image, performance, installation, drawing and painting. She has exhibited at SEVENTH Gallery, Sawtooth ARI, FELTspace in Australia and Interstitial Theatre, NARS Foundation in the USA. Her work is currently showing for PHANTASMAGORIA, an exhibition as part of the Bogong Centre for Sound Culture Supported Residency in Bogong Village, VIC and was recently Artist-in-Residence for King’s Bridge Cottage in Cataract Gorge, TAS, coordinated through QVMAG.